Germinal Hernández

In the aftermath of the Bay of Pigs incident, Sergio chooses to stay behind in Cuba while his wife and family escape to neighboring Miami. Alone in a brave new world, Sergio observes the constant threat of foreign invasion while chasing young women all over Havana. He finally meets Elena, a young girl he seeks to mould into the image of his ex-wife, but at what cost to himself?

Alsino, a boy of 10 or 12, lives with his grandmother in a remote area of Nicaragua. He's engulfed in the war between rebels and government troops when a US advisor orders the army to open a staging area by the boy's hamlet. Alsino tries to be a child, climbing trees with a girl, looking through his grandfather's trunk of mementos and trying to fly; he goes to town to sell a saddle, has his first drink and is taken to a brothel. But the war surrounds him. The US advisor takes Alsino on a chopper flight, but he's unimpressed. The soldiers' cruelties awake rebel sympathies in Alsino, and after an army assault backfires, the lad is fully baptized into the conflict.

A pious plantation owner attempts to teach Christianity to 12 of his slaves by inviting them to participate in a reenactment of the Last Supper.

A bourgeois Cuban family of aristocratic origin locks itself into its mansion when the Cuban Revolution comes to power, waiting for the new regime to be overthrown. As time passes, they regress to older and older systems of political order, from capitalism to feudalism to "primitive savagery."

In 1672 Cuban revolutionaries launch an uprising against the Spanish who are occupying the country. Preserved by the Academy Film Archive in 2017.

Born in 1943, Sara Gómez studied literature, piano, and Afro-Cuban ethnography before becoming the first female Cuban filmmaker. A woman of great intelligence, independence and generosity, she was a revolutionary filmmaker with intersecting concerns about the Afro-Cuban community and the value of its cultural traditions, women's issues, and the treatment of the marginalized sectors of society.

An approach to a living myth of dance, Alicia Alonso, from the viewpoint of her passion, tenacity and devotion to art. It includes fragments of the ballet Giselle, choreographed by her, based on the original by Jean Coralli and Jules Perrot, and of La Diva, choreographed by Alberto Méndez.

Teresa is overwhelmed: with a husband, three young sons, a job as a crew leader in a textile factory, and volunteer commitments as cultural leader of her union. Her husband, Ramón, believes her additional pursuits take time away from her domestic tasks and wants more of her attention, accusing her of neglecting him, her house and her family. A hard-hitting Cuban drama that presents a woman struggling for control of her own life and deals with the social consequences of traditional male chauvinism.

Matanzas, Cuba, 1913. Two young people who are in love communicate through letters written by penman. When the young man leaves town, to become a pilot, the girl discovers she is really in love with the one who wrote the letters.

In Miraflores, Cuba, the growing romance between Mario, a factory worker, and Yolanda, a schoolteacher, throws into relief the differences in their perspectives and values in Revolutionary Cuba.

The film is based on the historical event known as the Protest of Baraguá.

About a mysterious and troubled black woman, a former practitioner of the Santería religion, who must comes to terms with her background whilst in a Caracas jail.

A doctor committed against the revolution decides to escape in a boat. A criminal friend introduced him to a modest revolutionary family to cover it up. During the events aspects of a society in transition are reflected.

A left-wing intellectual, faced with the imminence of his arrest during the coup d'état against President Joao Goulart, lives anguished moments of definition. To the collapse of his small universe is added a conjugal confrontation that unmasks him mercilessly.

Documentary about the relationship between filmmaker Glauber Rocha and Cuba.

A short poetic evocation by Sara Gómez of Isla de Pinos, the island where Fidel Castro was imprisoned by Batista, where the revolution builds a new society. A juxtaposition of the Presidio Modelo prison with citrus production.

Engineer Mario Camargo, originally from Argentina, arrives in Cuba to work on the construction of a new industrial complex. He came from France, where he had lived most of his life. Mario had never thought about what homeland meant to him. He had always lived wherever he felt comfortable. In Cuba, Mario meets architect Marta Alea, a passionate patriot who devotes all her energy and abilities to building a new life. Seeing the enthusiasm of Marta and her friends, their devotion to the ideas of the revolution, Mario realizes that in our days, when the face of the world is changing, one cannot be a man without a homeland.

Documentary about the history of the bateyes, informal settlements surrounding the mills to house workers. Throughout the film, Sara Gómez recovers the political and cultural relevance of black migrants.

The daily life of the residents of one house, most of whose lives, in accordance with the customs of southern countries, take place in the courtyard, reflects the national character, the customs of the common people, their talent, and, most importantly, the new things that each new day brings to life in Cuba in the 1960s.

Performance by Cuban singers Elena Burke, Moraima Secada, and Omara Portuondo performing popular songs from the 1960s.